Meg Stuart
Damaged Goods
Jozef Wouters/Decoratelier
Berliner Zeitung, Menschen in Regalsystemen - Michaela Schlagenwerth (28.09.18) [ German ]
La Libre, Meg Stuart, Lion d’or à Venise, dans de nouveaux territoires - Guy Duplat (19.01.18) [ French ]
Le Vif, Trip à la sauce indonésienne - Estelle Spoto (24.01.18) [ French ]
La Libre, Meg Stuart, Golden Lion for Lifetime Achievement, tests new waters - Guy Duplat (19.01.18)
Mouvement, D'huile et d'eau - Sylvia Botella (30.01.18) [ French ]
Mouvement, Of oil and water - Sylvia Botella (30.01.18)
Disfiguring dance, refiguring the human - Allyson Green & André Lepecki on Meg Stuart/Damaged Goods (05.18)
Contemporary Performance, In Performance: Meg Stuart/Damaged Goods, Until Our Hearts Stop - Philip Gates (08.05.18)
Le Devoir, Until Our Hearts Stop: jeux interdits - Mélanie Carpentier (26.05.18) [ French ]
Lèche-Vitrine, Entrevue avec Meg Stuart sur UNTIL OUR HEARTS STOP - Philippine Vallette (28.05.18) [ French ]
La Libre, Comment peut-on survivre au chaos? - Guy Duplat (02.06.18) [ French ]
De Morgen, Instagram avant la lettre - Pieter T' Jonck (20.06.18) [ Dutch ]
Die Presse, Tanz der intergalaktischen Krieger - Isabella Wallnöfer​ (01.08.18) [ German ]
TanzRaumBerlin, Scope for freedom - Astrid Kaminski (03.18)
Der Standard, Practicing dying with ironic grandeur - Helmut Ploebst (24.11.18)

She dances with such phenomenal control of the body that even the most complex combinations of movement seem as self-evident as normal communicative behaviour. The words leave his mouth as if the most outlandish chains of thought belong to everyday language. He succeeds in speaking without a mic in the most unaffected tone of everyday conversation yet can be clearly understood in the whole theatre.

Understatement and mastery are combined in the performance “Shown and Told” by and featuring Meg Stuart and Tim Etchells. Both artists appeared as if they were only briefly passing by and had to go straight back to work in a tavern serving beer and bar food. They wear jeans and trainers – him in a light-blue t-shirt and her in a loose yellow, brown and black chequered top – all bargain brands.

Shaking things up and great power of persuasion
They hardly need to blow their own trumpets – neither 51-year-old Stuart – who enduringly shook up the contemporary dance scene of the time at just 27 years of age to the extent that it was no longer as it was before – nor 56-year-old Etchells, who developed such a convincingly fresh type of performance in the 1990s with his Sheffield-based group Forced Entertainment that British theatre suddenly thrilled the whole of Europe. Over the years, they have succeeded in developing a lightness, verve and persuasive force which goes far beyond most of what currently passes through contemporary choreography companies.

Voices like the wind
In “Shown and Told” both appear in the spotlight at the same time. Stuart immediately starts to dance, while Etchells keeps his distance, watches her, reads her movements and starts to speak: “It is like the sound of voices from another room, like a noise coming from the room above when you can’t really hear the voices and they sound more like the wind blowing through an alley.” The audience is transported into another world where associations and images are triggered by dance.

Complex feelings
This distribution of roles – him the wordsmith and her the master of body language – is not maintained. Stuart also engages in language: “I dance to ask questions and because I have too much energy, so that I can practice dying and can make love to the floor all day long...” In this vein, situations, sketches and scenes are played out, complex feelings are invoked and imaginary cities conjured up. There is ironic grandeur throughout where mockery and anger about the outside world are sometimes combined.

“Are you there?”
Artistic loops constantly ramp up the tension and absurd interjections provide amusement. At one point he looks at her and asks: “Are you there?” In astonishment, she replies: “Is that a serious or a philosophical question?” He says: “More of a political one.” Yes, exactly, there is also a political dimension to this performance not presented as a militant vendor’s tray. The audience in the sold-out TQW Hall G was enraptured and not without good reason.

Der Standard, Sterben üben mit ironischer Grandezza - Helmut Ploebst (24.11.18) [ German ]
FAZ, Ear candles to ward off pain - Eva-Maria Magel (19.11.18)
FAZ, Ohrenkerzen gegen Schmerzen - Eva-Maria Magel (19.11.18) [ German ]

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